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At last Thursday night's Philharmonic concert, in PhIlharmonic Hall, he presented his audience with three completely tonal com- positions by three contem- porary American composers, and one of these composi- tions, Leo Smit's Svmphony h No. 2 in Six Movements, '''\\-7 ( \ showed something of a new departure within the tonal system. The work is, in fact, not only tonal but built en- tirely on the diatonic scale, otherwise known as do-re- mi-fa-sol-la-si. There is, to be sure, a great amount of defensive armor around this simple concept-nearly all of it in the form of complicated embel- lishments in the field of orchestration- and this makes It seem "modern" In the sense in which this word is understood in musical circles. (There is that infl u- ence of Stravinsky that one can still de- tect In three out of four contemporary works.) But I had the feeling that if Mr. Smit would only come out from behind al1 that barbed wire, he would stand forth as a composer of real com- municative power. There are passages here and there that indicate a genuine lyric gift. The next item on the program was Mr. Bernstein's own Serenade for Solo Violin, String Orchestra, Harp, and Percussion (after Plato's "Symposi- um"), with Zino Francescatti in the solo violin part, which he played with exemplarv taste and purity of tone. This work is so good that I felt sorry it is not just a bit better. As a composer, Mr. Bernstein is apt to show every as- pect of distinction except the capacity for self-criticism, and that is the case here. If there are any infl uences to be discerned in this composition, they are those of Strauss and Mahler-to mv mind, the two healthiest infl uences that a contemporary composer can have. There is one episode in the work-an adagio entitled "Agathon" -that can be truly described as beautiful, and it is beautiful partly because it is simple and heartfelt. Though this Serenade is very uneven in quality, it is, as a whole, a work to be taken serIously. Mr. Bern- stein's writing for the violin is knowing and effective. Whether or not the Serenade wIll call up in the listener's mInd anything like the work of Plato's that is said to have inspired it is ques- tionable, and unimportant. In the last movement, which is rather long for my taste, Mr. Bernstein gives way to the temptation to introduce his Broadway style, thus striking, in my opinion, an incongruous and slightly vul- gar note. The last of the three com- positions was Aaron Cop- land's Third Symphony, a fairly familiar item. This was the most coherent of all three, from the standpoint of form, and it had its points. Its long slow movement IS its weakest part, mainlv be- cause of Copland's lack of a gift for sustained melody of any emotional power. But the other move- ments seem to hold up well. Just to lump similar things together, I shall comment here on Elliott Car- ter's Variations for Orchestra, which appeared on the program of the Minne- apolis Symphony Orchestra the night before, under the baton of Stanislaw Skrowaczewski. This particular con- temporary American composition turned out to be a good example of the me- thodical atonal idiom, which I hope we are outgrowing. It is a complicated work, lasting about half an hour. A considerable effort has been expended on its intricacies. There is, however, more art in the average Broadway tune than there is in al1 its excruciating- ly tortured workmanship. It is what one ordinarily calls an "interesting" composition. But we have a plethora of "interesting" compositions around today. What we need is expressive ones. ..... '-.. '--- T HE concert of the Minneapolis Symphony, which took place in Carnegie Hall on Wednesday evening, was otherwise not terribly eventful. The oréhestra, as I believe I have re- marked before, IS a good one. Mr. Skrowaczewski showed himself to be a master technician in dealing with Mr. Carter's Variations, but he demonstrat- ed very little feeling for sonority, color, or elegance in dealing with Debussy's "Iberia," which was set forth with hard lines and no subtlety at all. Szymanow- ski's Symphonie Concertante for Piano and Orchestra, Opus 60, proved to be typical Szymanowski-that is to say, one nice theme and then a lot of